George Tuska

Source: Wikipedia, the free encyclopedia.
George Tuska
Tuska in the 1960s
Born(1916-04-26)April 26, 1916
Hartford, Connecticut, U.S.
DiedOctober 16, 2009(2009-10-16) (aged 93)
Manchester Township, New Jersey, U.S.
NationalityAmerican
Area(s)Penciller, Inker
Pseudonym(s)Carl Larson
Notable works
Crime Does Not Pay
Fawcett's Captain Marvel
Iron Man
The World's Greatest Superheroes comic strip
AwardsInkpot Award, 1997

George Tuska (

artist best known for his 1940s work on various Captain Marvel titles and the crime fiction series Crime Does Not Pay and for his 1960s work illustrating Iron Man and other Marvel Comics characters. He also drew the DC Comics newspaper comic strip The World's Greatest Superheroes
from 1978–1982.

Biography

Early life and career

George Tuska was born in Hartford, Connecticut, the youngest of three children of Russian immigrants Harry and Anna Onisko Tuska, who had met in New York City.[3] George's siblings Peter, the eldest, and Mary, the middle child, were born in New York City. Years later, Mary died while giving birth to her second child, who was stillborn.[4] Harry, a foreman at a Hartford auto-tire company, died when George was 14.[3] Anna then opened a restaurant in Paterson, New Jersey, where she had relatives, and later remarried.[3] At 17, Tuska moved to New York City, rooming with his cousin Annie, and a year later began attending the National Academy of Design.[5] His artistic influences included illustrators Harold von Schmidt, Dean Cornwell, and Thomas Lovell, and comic strip artists Lou Fine, Hal Foster, and Alex Raymond.[5] At some early point, he took his first job in art, designing women's costume jewelry.[5]

Tuska then began working for

Fox Comics' Mystery Men Comics #1 and Wonderworld Comics #4, both cover-dated
August 1939. Tuska in the mid-2000s recalled:

I went to art school at the same I was doing costume jewelry design. I put in an application with a professional agency in New York City. I told them I could do cartooning, drawing. A week later, I got a call from Eisner-Iger, asking me to submit some samples. ... [Eisner] said, 'That's pretty good, but we don't do that [cartoon] stuff'. He showed me a comic book and said, 'This is what we want'. ... I went home and made a page — a whole story in one page. When I brought it back, he bought it for $5. He said, 'We'd like to have you work for us'. That's how I got started. ... I gave up school. ... I made $10 per week.[6]

At Eisner & Iger, Tuska said in 2001, "I worked alongside

Bob Powell, Lou Fine, and Mike Sekowsky". His studio colleagues later grew to include artists Charles Sultan, John Celardo, and Nick Cardy, and writer Toni Blum
. Writer-artist and company co-founder
Bob Powell. Powell was kind of a wiseguy and made remarks about other people in the shop. One day, George had enough of it, got up, and punched out Bob Powell".[7] The otherwise mild-mannered Tuska, thinking comic books "would last two or three years — a fad",[8] later left to seek non-comics work. After two weeks, however, he came across colleagues Sultan and Dave Glaser, on their way to meet with comics packager Harry "A" Chesler.[8][9] Tuska, invited along, joined Chesler's studio, working there in 1939 and 1940, earning $22 a week, increased to $42 a week within six months.[10] Alongside colleagues that included Sultan, Ruben Moreira, Mac Raboy, and Ralph Astarita,[9] Tuska helped to supply content for such Fawcett Comics publications as Captain Marvel Adventures.[9] Later, when Eisner-Iger client Fiction House formed its own bullpen to produce work on staff, Tuska left Chesler to join Cardy, Jim Mooney, Graham Ingels and other artists there.[11]

Tuska produced a prodigious amount of work that included, for Fiction House, the

Fox Comics' Mystery Men Comics; "Archie O'Toole" (as Bud Thomas)[16] in Quality Comics' Smash Comics and "Cosmic Carson" (as Michael Griffith)[17]
in Fox's Science Comics.

At some point, Tuska again worked for

Spirit and Uncle Sam stories".[9] (Tuska's first Uncle Sam work was the cover and virtually every story in Uncle Sam Quarterly #3, cover-dated Summer 1942.) Independently, he was assigned by Fawcett art director Al Allard to draw "a few more Captain Marvel stories. Allard had asked me to draw as close as possible to the way Captain Marvel had first appeared in Whiz Comics. ... After those freelance jobs, I never worked for Fawcett again".[9]
Tuska's earliest Captain Marvel work appeared in Captain Marvel Adventures #2-4 (Summer 1941, Fall 1941, and the oddly dated Oct. 31, 1941).

Drafted into the

100th Division at Fort Jackson in Columbia, South Carolina where he worked in headquarters drawing artillery.[18] He was honorably discharged as a private first class after a year for reasons the artist did not specify.[18] Returning home, he took up again with Fiction House, drawing a host of stories featuring Reef Ryan, Rip Carson, Lady Satan, the Western hero Golden Arrow, and Camilla, Queen of the Jungle.[13]

Crime Does Not Pay

Following the huge popularity of

superheroes during the World War II years, those characters' appeal began to dwindle in the post-war era.[19] Comic-book publishers, casting about for new subjects and genres, found a hit in crime fiction, the most prominent comic of which was Lev Gleason Publications' Crime Does Not Pay.[20] Tuska would soon make a name for himself as one of the genre's top comics artists.[21] After starting with short backup features and spot illustrations for text stories, Tuska was drawing the lead stories and more by Crime Does Not Pay #50 (March 1947).[13]

1950s

Tuska's first work for the future Marvel Comics came in 1949, when Marvel's predecessor company, Timely Comics, was transitioning to its 1950s iteration, Atlas Comics. His first confirmed credit is the seven-page story "Justice Has a Heart" in Casey - Crime Photographer # 1 (Aug. 1949).

Lev Gleason and St. John Publications.[13]

Simultaneously at first, from 1954 to 1959, Tuska took over as writer-artist for the failing adventure comic strip

science-fiction comic strip Buck Rogers, on which he was the final artist, drawing both the daily and Sunday strip from April 1959 to 1965, and the daily only from then through 1967, when both the daily and the Sunday were canceled.[24]

The Silver Age

Tuska's cover of Iron Man #18 (Oct. 1969) displays a panoply of character faces, as well as both old and new Iron Man armors.

Near the cancellation of the daily Buck Rogers strip, Tuska again found a freelance home at what was by now

Golden Age
great.

Tuska became a Marvel mainstay,

Sub-Mariner, and The X-Men. His signature series became Iron Man, on which he enjoyed a nearly 10-year, sometimes briefly interrupted, run from issue #5 (Sept. 1968) to #106 (Jan. 1978).[25] He and writer Archie Goodwin created the Controller as an antagonist in Iron Man #12 (April 1969).[26]

Comics historian

20th Century Fox insisted on changes to Tuska's art. Editor Roy Thomas believed that Tuska "just made a handsome looking guy, but it didn't look like Heston ... you can't argue. If somebody says it looks like Charlton Heston and they're worried he's gonna sue, you can't say 'no' because they just weren't going to give the approval."[30]

The A.V. Club insert of The Onion wrote, shortly before Tuska's death in 2009, that,

Tuska was perfectly competent, and his art for titles like Iron Man and The Incredible Hulk [sic][31] is decent, though unspectacular. But his drawing was so quickly assayed, and so essentially flavorless, that he became the King of the Fill-In Issue, hopping in to provide bland, forgettable work whenever someone else blew a deadline. He thus played an inadvertent part in setting up [Marvel and DC Comics]' creed of speed over quality, and helped establish the Marvel house style, which nurtured some young artists, but acted as an artistic straitjacket for others.[32]

That assessment of Tuska's Marvel work is not widely shared. John Romita Sr., Marvel's de facto and later official art director during this period, found Tuska "so versatile. He could do everything. When Stan knew that a guy could do anything, he used him in every possible, conceivable way. George was a helluva artist and very versatile and very fast. ... He was in demand".[33] Comics writer and Tuska collaborator Tony Isabella wrote, "I would love to see a Best of George Tuska collection which included his crime, mystery, romance, war, and western stories. He brought as much excitement and talent to those genres as he did to superhero comics".[34] Comics journalist and historian Tom Spurgeon wrote that,

... his layouts were certainly more imaginative than the standard at the time, and the way in which characters like Luke Cage held a lot of their strength in their shoulders and punched from their legs up through their torsos betrayed his knowledge of strength and fitness. His signature flourish may have been characters in arrested motion, coiled in preparation for violence like so many pulp heroes of an earlier generation, legs splayed in the form of a near-base ready for what might come next. ... Tuska cemented his reputation as one of the more iconic superhero artists of [the 1970s] — two full generations after entering comics.[35]

Later career and death

Later, for DC Comics, Tuska drew characters including Superman, Superboy, and Challengers of the Unknown.[13] He had a four-year run drawing The World's Greatest Superheroes comic strip from 1978–1982, inked by Vince Colletta.[36] By this time, his health had become a handicap; Jim Shooter, who scripted an issue of Daredevil penciled by Tuska in 1977, recalled that, "George Tuska was at the end of his brilliant career, he was mostly deaf, communication was difficult, and though he showed occasional flashes of the chops that made him a big name artist in his day, I don't think his work on Daredevil was anywhere near his best."[37] Tuska drew DC's Masters of the Universe limited series in 1982.[38]

Retired from active comics work as of the 2000s, Tuska late in life moved from Hicksville, New York, on Long Island,[39] to Manchester Township, New Jersey, with his wife Dorothy ("Dot"), where he did commissioned art.[9] The couple had three children, Barbara, Kathy and Robert.[2] Tuska died in 2009 "near the stroke of midnight between October 15 and October 16,"[35] officially on the latter date.[1][2] His last published comic-book art was one of four variant covers for Dynamite Entertainment's Masquerade #2 (March 2009).[40]

Awards

Tuska was a 1997 recipient of the industry's Inkpot Award.[41]

Bibliography

Comics work includes:

DC Comics

Fawcett Comics

Lev Gleason Publications

  • Black Diamond Western #10, 48 (1949–1954)
  • Boy Comics #30, 57, 70, 98, 101, 105, 113, 115 (1946–1955)
  • Boy Loves Girl #42, 46 (1954)
  • Boy Meets Girl #1 (1950)
  • Crime and Punishment #2–3, 28, 30, 33, 42, 64–64, 70 (1948–1954)
  • Crime Does Not Pay #22, 47–54, 56–64, 66–68, 71–74, 77–78, 80–81, 86–87, 99, 110, 114, 129–140, Annual #1 (1942–1954)
  • Desperado #4 (1948)
  • Lovers' Lane #2, 6, 40 (1949–1954)

Marvel Comics

  • 3-D Action #1 (1954)
  • Adventures into Terror #14, 18 (1952–1953)
  • Adventures into Weird Worlds #1, 12, 15 (1952–1953)
  • All-True Crime #48, 51 (1952)
  • Amazing Detective Cases #10 (1952)
  • Arizona Kid #6 (1952)
  • Astonishing #27 (1953)
  • Astonishing Tales #5–6 (Doctor Doom); #8 (Gemini) (1971)
  • The Avengers #47–48, 51, 53–54, 106–107, 135, 137–140, 163 (1967–1977)
  • Battle #11, 15, 23, 30, 32 (1952–1954)
  • Battle Action #2, 29 (1952–1957)
  • Battle Ground #11, 15–16 (1956–1957)
  • Battlefield #3 (1952)
  • Battlefront #22, 37 (1954–1955)
  • Black Goliath
     #1–3 (1976)
  • Black Rider #12, 18–21 (1951–1954)
  • Captain America #112, 215 (1969–1977)
  • Captain Marvel #54 (1978)
  • Casey – Crime Photographer #1 (1949)
  • Champions #3–4, 6–7, 17 (1976–1978)
  • Cowboy Action #11 (1956)
  • Creatures on the Loose #30–32 (
    Man-Wolf
    ) (1974)
  • Crime Can't Win #3 (1951)
  • Crime Cases Comics #5, 9, 12 (1951–1952)
  • Crime Exposed #3–4 (1951)
  • Crime Must Lose #9 (1951)
  • Daredevil #39, 145, Annual #4 (1968–1977)
  • Defenders #57 (1978)
  • Dracula Lives! #13 (1975)
  • Frontier Western #2, 10 (1956–1957)
  • G.I. Tales #4 (1957)
  • Ghost Rider #13–14, 16 (1975–1976)
  • Gunhawk #13, 33–34 (1951–1956)
  • Hero for Hire #1–3, 5, 7–12 (1972–1973)
  • The Incredible Hulk vol. 2 #102, 105–106, 218 (1968–1977)
  • Iron Man #5–13, 15–24, 32, 38, 40–46, 48–54, 57–61, 63–72, 78–79, 86–92, 95–106, Annual #4 (1968–1978)
  • Journey into Mystery #11 (1953)
  • Journey into Unknown Worlds #3, 10, 14 (1951–1952)
  • Jungle Action #2 (1954)
  • Jungle Tales #2 (1954)
  • Justice #15, 18, 31, 33, 37, 40–41, 48 (1950–1954)
  • Ka-Zar #2–3 (Angel backup stories) (1970–1971)
  • Kent Blake of the Secret Service #5 (1952)
  • Kid Colt Outlaw
     #16, 24, 32, 34–35, 63 (1951–1956)
  • Lorna the Jungle Girl #6 (1954)
  • Man Comics #1–2 14, 16, 21, 23–24 (1949–1953)
  • Marines in Battle #15, 18, 20 (1956–1957)
  • Marvel Chillers #7 (Tigra) (1976)
  • Marvel Premiere #26 (Hercules) (1975)
  • Marvel Super-Heroes #19 (Ka-Zar) (1969)
  • Marvel Tales
     #114 (1953)
  • Marvel Tales
     vol. 2 #30 (Angel backup story) (1971)
  • Marvel Treasury Edition #13 (1977)
  • Marvel Two-in-One #6 (1974)
  • Masters of the Universe The Motion Picture #1 (1987)
  • Men in Action #2, 6 (1952)
  • Men's Adventures #12, 24 (1952–1953)
  • Menace #1–2, 5 (1953)
  • Monsters on the Prowl #10 (1971)
  • Monsters Unleashed #3 (1973)
  • My Love #2 (1949)
  • My Love vol. 2 #17 (1972)
  • My Own Romance #10 (1950)
  • Mystery Tales #10, 12, 14 (1953)
  • Our Love Story #20 (1972)
  • Outlaw Fighters #1–3 (1954)
  • Planet of the Apes #1–6 (1974–1975)
  • Power Man #17–20, 24, 26, 28–29, 47 (1974–1977)
  • Private Eye #1–3 (1951)
  • Quick-Trigger Western #17 (1957)
  • Rawhide Kid #14 (1957)
  • Red Warrior #1 (1951)
  • Shanna the She-Devil #1 (1972)
  • Space Squadron #1–3 (1951)
  • Spaceman #5 (1954)
  • Sports Action #7 (1951)
  • Spy Cases #7 (1951)
  • Spy Fighters #1-2 (1951)
  • Strange Tales #1, 12, 14, 18–19, 94, 166 (1951–1968)
  • Sub-Mariner #41–42, 69–71 (1971–1974)
  • Super-Villain Team-Up #1 (1975)
  • Supernatural Thrillers #6 (Headless Horseman) (1973)
  • Suspense #5–6, 12, 24 (1950–1952)
  • Tales of Justice #57, 61–62 (1955–1956)
  • Tales of Suspense #58 (Watcher); #70–74 (Captain America) (1964–1966)
  • Texas Kid #1, 6 (1951)
  • Tower of Shadows #3 (1970)
  • Two-Gun Kid #11, 45 (1953–1958)
  • War Action #2, 8, 10 (1952–1953)
  • War Adventures #1 (1952)
  • War Comics #22 (1953)
  • Western Outlaws #2, 6, 15 (1954–1956)
  • Western Outlaws and Sheriffs #64, 69–72 (1950–1952)
  • What If ... ? #5 (Captain America) (1977)
  • Wild Western #21, 27, 29, 32, 37 (1952–1954)
  • Worlds Unknown #7–8 (The Golden Voyage of Sinbad adaptation) (1974)
  • X-Men #43–46 (1968)
  • Young Men #6–7, 21–23 (1950–1953)

Quality Comics

Tower Comics

References

  1. ^ a b George Tuska at the Social Security Death Index via FamilySearch. Retrieved on 5 March 2013.
  2. ^
    Lambiek Comiclopedia
    erroneously gives death date as October 15
  3. ^
    ISBN 978-1-893905-40-5.{{cite book}}: CS1 maint: multiple names: authors list (link
    )
  4. ^ Cassell, p. 9
  5. ^ a b c Cassell, p. 10
  6. ^ Cassell, p. 21
  7. ^ Will Eisner interview, Alter Ego #48, May 2005, p. 21
  8. ^ a b Cassell, p. 26
  9. ^ a b c d e f g Tuska, George (July 2001). "I Didn't Stay In One Place!". Alter Ego. Vol. 3, no. 9. Raleigh, North Carolina: TwoMorrows Publishing. Archived from the original on November 29, 2010. Retrieved January 5, 2011.
  10. ^ Cassell, p. 27
  11. ^ Cassell, pp. 29-30
  12. ^ Cassell, p. 22
  13. ^ a b c d e George Tuska at the Grand Comics Database
  14. ^ Cassell, p. 20
  15. ^ As in, for example, Mystery Men Comics #4 (Nov. 1939)
  16. ^ As in, for example, Smash Comics #11 (June 1940)
  17. ^ As in, for example, Science Comics #2 (March 1940)
  18. ^ a b Cassell, pp. 32-33
  19. ISBN 978-0-8018-6514-5
    .
  20. ^ Wright, pp. 77-85
  21. ^ Evanier, Mark (October 16, 2009). "George Tuska, R.I.P." POVOnline: News from Me. Archived from the original on January 19, 2014.
  22. ^ George Tuska at Atlas Tales database
  23. ^
    ISBN 0-517-12447-5
    . Scorchy Smith entry, p. 320
  24. ^ Horn, Buck Rogers entry, p. 70
  25. ^ Eury, Michael (February 2010). "Back Seat Driver". Back Issue! (38). Raleigh, North Carolina: TwoMorrows Publishing: 2. His most celebrated achievement was a decade-plus run on Iron Man ...
  26. ISBN 978-0756641238. {{cite book}}: |first2= has generic name (help)CS1 maint: multiple names: authors list (link
    )
  27. ISBN 9780810938212
    .
  28. ^ Sanderson, Peter "1970s" in Gilbert (2008), p. 157: "Writers Carole Seuling and Steve Gerber crafted Shanna's origin story with artist George Tuska."
  29. ^ Sanderson "1970s" in Gilbert (2008), p. 166
  30. ^ Thomas in Cassell, pp. 78-79
  31. ^ Tuska never penciled that or any other Hulk series, and inked fewer than five issues. Historian Mark Evanier notes in his POV Online column of October 18, 2009, "Reflections on Geo. Tuska", that, "The one issue (only one) that features his art was a case when he drew a story for another comic and when Marvel suddenly needed an issue of Hulk in a hurry, they took Tuska's story, had another artist draw the green-skinned guy into a couple of panels and published it as an issue of The Incredible Hulk. That may have been the best move in order to get a book to press on time but George never got a chance to show what he could do on the Hulk comic. He may not have ever known he'd even 'drawn' an issue of it'.
  32. ^ "Reinventing the pencil: 21 artists who changed mainstream comics (for better or worse)". The A.V. Club. July 20, 2009. Archived from the original on December 28, 2013. Retrieved July 20, 2009.
  33. ^ Romita, John Sr. quoted in Cassell, p. 43
  34. ^ Isabella, Tony (August 9, 2005). "Tony's Online Tips". Worldfamouscomics.com. Archived from the original on February 22, 2012.
  35. ^
    The Comics Reporter. Archived
    from the original on October 18, 2009. Retrieved October 1, 2012.
  36. ^ Leiffer, Paul; Ware, Hames, eds. "The Comic Strip Project". Archived from the original on March 23, 2010. {{cite web}}: |first2= has generic name (help)CS1 maint: multiple names: authors list (link)
  37. ^ Mithra, Kuljit (July 1999). "Interview with Jim Shooter". Manwithoutfear.com. Archived from the original on November 11, 2013.
  38. ISBN 978-1616555924
    .
  39. ^ "Marvel and the Apple Tree". Long Island Pulse. June 30, 2014.
  40. ^ Masquerade #2 at the Grand Comics Database
  41. ^ "Inkpot Award Winners". Hahn Library Comic Book Awards Almanac. Archived from the original on July 9, 2012. Retrieved March 15, 2017.

Further reading

  • Interview, Comic Book Marketplace #31 (Jan. 1996), pp. 25–33. Gemstone Publishing.
  • Tribute and Interview, *Comic Book Artist Bullpen #1, (Dec. 2003), pp. 4–19. RetroHouse Press

External links

Preceded by Iron Man artist
1968–1978 		Succeeded by
Preceded by
n/a
 Hero for Hire artist
1972–1973 		Succeeded by
Preceded by The Avengers artist
1975 		Succeeded by
Preceded by Justice League of America artist
1985 		Succeeded by
Retrieved from "https://en.wikipedia.org/w/index.php?title=George_Tuska&oldid=1217449400"